Unraveling the Mystery of BWV 23: Bach's Test Cantata for the St. Thomas Cantorate

Unraveling the Mystery of BWV 23: Bach’s Test Cantata for the St. Tomas Cantorate Kristina Caswell MacMullen

hat Bach decided, in spite of the pressure Bach brought one completed work (BWV 23) “ of time, to enlarge Cantata 23, so to with him from Cöthen; the other one (BWV speak at the last minute, by a fourth 22) he apparently wrote only in Leipzig. Tmovement is remarkable; he must have had good Te solo style of BWV 23 clearly follows reasons for doing so. Te details for his decision the model of the Cöthen congratulatory remain unknown.”1 In his chapter detailing cantatas. However, shortly before auditioning Bach’s audition for the St. Tomas Cantorate for the cantorate, Bach decided in Leipzig to in Leipzig, Christoph Wolf ofers insight on lengthen this cantata by adding a new fnal the performance history of BWV 23 Du wahrer movement, “Christe, du Lamm Gottes.” He Gott und Davids Sohn, one of two test cantatas did not have to write this as a new piece; presented. Based on the extant materials, scholars rather, he took it from a Passion composition have pieced together a history of the cantata’s dating from his time in Weimar that he performance. Of paramount interest, the extant probably kept in his baggage—perhaps in parts suggest that Bach added a pre-existing order to be able to ofer an example of a large movement from his Weimar period, “Christe, concerted work, should the occasion arise. du Lamm Gottes,” to a newly composed three- Leipzig, at least, was given a sample in 1723 movement form at the last minute.2 in a performance on Quinquagesima Sunday.3

3 Christoph Wolf, “Bach’s Pre-Leipzig Cantatas: Repertory Why would Bach do this? Christoph Wolff and Context,” in Te World of Bach Cantatas, ed. Christoph suggests Bach intended to impress with the Wolf et al. (New York: W.W. Norton & Company, Inc., 1995), addition of Passion music, demonstrating his 19. capacity in a larger scale form. The CHORAL 1 Wolf, Bach: Essays on his Life and Music, (Cambridge: Harvard University Press, 1991), 128–140. In his chapter entitled “Bach’s Audition for the St. Tomas Cantorate: Te SThe OnCHOline Journal of the National CollegLAiate Choral OrgaRnization Cantata ‘Du Wahrer Gott und Davids Sohn,’” Wolf gives a detailed account of Bach scholarship surrounding this cantata. 2 Ibid., 131. Volume 6, Number 1 Spring 2017

3 It is also possible that he decided the cantata was Was this predetermined or truly added in too short. Perhaps he had more time to fll. Tis haste? For good reason, Bach scholarship has seems an improbable conclusion considering the subscribed to the theory that this movement magnitude of the event. Regardless of motivation, acted as an augmentation, albeit curious. Tis both theories recognize the spectacular nature of curiosity demands further inquiry. Is it possible, this presumed addition. Even within the context instead, that Bach began with this movement of the “golden age” of Bach scholarship,4 Bach’s as the cantata’s foundation? Is it possible that design remains a mystery. he originally conceived of Cantata 23 as a four- movement form? 4 Robert L. Marshall, “Toward a Twenty-First-Century Bach Biography,” Te Musical Quarterly 84, no. 3 (Autumn 2000): 497.

Te Calov Bible Figure 1. Te Calov Bible, 1 Chronicles 25

4 The Calov bible holds an important clue in In the commentary of the facsimile, the notes the mystery of this cantata’s genesis. In the state, “In addition to the marginal comment early twentieth century, Christian G. Riedel there is also the underlining of the summary of the discovered the personal bible, or Calov bible, chapter: ‘(I.) Of the Singers and Instrumentalists. of Johann Sebastian Bach. In its pages, Bach’s (II.) Appointment of the singers by lot.’”5 Bach’s personal commentary can be found. One of four underlining substantiates his awareness of the critical notations, Bach added various underlines phrase “casting their lots.” Seven years later, Bach and a signifcant comment on 1 Chronicles 25: seems to confrm this scripture as inspiration. In a letter to Georg Erdmann of Leipzig, dated 28 October 1730, Bach writes, NB. Dieses Capital ist das wahre Fundament aller gotfälliger Kirchen Music. At first, indeed, it did not seem at all proper for me to change my position of NB. Tis chapter is the true foundation of all God- Cappellmeister for that of cantor. Wherefore, pleasing church music. then, I postponed my decision for a quarter of a year, but this post was described to me in such favorable terms that finally Initially, this comment seems general. A (particularly since my sons seemed inclined thorough reading reveals another puzzle toward [university] studies) I cast my lot, piece. I Chronicles 25:6–8 provides a description [emphasis added] in the name of the Lord…” of David’s musicians,

Bach’s personal commentary and markings afrm All these men were under the supervision that he intimately pondered this scripture. of their fathers for the music of the temple of the Lord…Along with their relatives— all of them trained and skilled in music Bach’s interest in numerical symbolism is not for the Lord—they numbered 288 [emphasis contained to this work. Many scholars have added]. Young and old alike, teacher as dedicated signifcant study to this topic. In Bach well as student, cast lots for their duties and the Baroque, Anthony Newman describes [emphasis added]. symbolism in Bach’s work,

With the addition of the fourth movement, There has been much interest in Bach’s Christe, du Lamm Gottes, Cantata 23 contains fascinating use of numbers and number 288 measures. Te numerical signifcance of symbolism…It is interesting that Bach used 288 suggests that Bach designed Cantata BWV numbers in his compositions at all, and 23 with this scripture in mind. Perhaps Bach this can hardly be disputed, and very often added this comment following his appointment these and other measures in diferent pieces in Leipzig, confrming his personal ambition to create a “God-pleasing church music.” 5 Robin A. Leaver, J.S. Bach and Scripture: Glosses from the Calov Bible Commentary. (St. Louis: Concordia Pub. House, 1985), 93–94.

5 demonstrate that he was conscious of some Perhaps the relationship of Bach’s biblical kind of number symbolism.6 markings and the structural design of Cantata 23 aren’t a coincidental alignment. He continues, Extant Performance Materials Te third type of Bach symbolism involves the use of numbers, generally called ‘numerology’ or ‘gematria.’ From the Te Deutsche Staatbibliothek, Berlin holds the time of Pythagoras, the knowledge of the entire set of performance materials for BWV 23.9 properties of numbers had been regarded Bach’s original scores, excluding duplicate parts by philosophers as a secret mystery. It was and continuo, are included in this collection. Te believed, even by scientists like Copernicus evidence presented by these materials suggests and Kepler, that God had arranged all things an eventful history of performance, constituting 7 in number and measure. the primary source evidence for the cantata due to possible use in performance by Bach himself. For years, general opinion held that the premiere In his chapter on symbolism, Newman cites of Cantata 23 took place on Estomihi Sunday in numerous instances, including but not limited 1724.10 With his critical research, Alfred Dürr to: the general significance of a number (for reversed this misconception. Dürr compared the example, the number three as associated with the script of Bach’s copyist with that of Graupner’s. trinity), number-word symbolism using both the Both share the same characteristic script. His Roman and the Greek alphabet (A=1, B=2, etc.), ♭ ♮ analysis frmly established that BWV 23 was the Bach signature (B , A, C, B ), and references indeed performed for the 1723 audition,11 to the number of disciples in the St. Matthew 8 elevating the status of BWV 23 as particularly Passion. Newman closes by emphasizing the significant. Accordingly, it is possible that personal nature of this symbolism, Cantata 23 was performed at least three times between 1723 and Bach’s death, in 1723, 1724, When Bach weaves his name into the fabric and 1728. Let us now consider the extant scores of the music, or when he uses numbers to and the chronicle that they provide. relate the meaning of the word and the music, then it seems that we are part of a profound artistic and intellectual experience when we perform these works. It seems incredible 9 Wolf writes, “Bach manuscripts originally belonging to the former Preußische Staatbibliothek Berlin are now divided that Bach would count large numbers of between DSB and SPK (formerly East and West Berlin, notes as some scholars theorize; but it does respectively) and carry the designation Mus. Ms. Bach P seem reasonable that he planned music in and Mus. Ms. Bach St. For practical reasons and following established custom in the scholarly Bach literature, these an architectural way, counting measures Berlin call numbers are now and then reduced to P (P{artitur} to determine the form of the piece, and = score) and St (St{timmen} = parts).” On pp. 132–133, Wolf categorizes the parts according to watermark and scribe. He making certain measures very meaningful. also compares the original sources for Graupner’s audition 6 Anthony Newman, Bach and the Baroque: a performing guide pieces, “Lobet den Herrn” and “Aus der Tief ”. Te Hessische to baroque music with special emphasis on the music of J.S. Bach. Landerbibliothek, Darmstadt holds Graupner’s extant (New York, NY: Pendragon Press, 1985), 182. materials. Wolf, Bach: Essays on his Life and Music. xiii-xiv. 7 Ibid., 194. 10 Ibid. 8 Ibid., 195-196. 11 Ibid.

6 Table 1. Keys for Performances of BWV 2312

12 Ibid., 140.

Performance Parts Notated Concert Key Pitch Pitch

B minor Vocal parts C minor B minora Strings C minor B minorb Oboe d’amore 1, 2 D minor B minor Bassoon/harpsichord B minor B minor Continuo (organ) A minor B minor Cornetto, trombone 1–3 A minor B minor

Not usable: Oboe 1, 2 C minor C minor

C minor Vocal parts C minor C minor Strings C minor C minor Oboe 1, 2 C minor C minor Continuo (organ) B♭ minor C minor

Not usable: Oboe d’amore 1, 2 D minor B minor Bassoon/harpsichord B minor B minor Continuo (organ) A minor B minor Cornetto, trombone 1–3 A minor B minor

a. Concert pitch achieved by singers’ transposing at sight b. Concert pitch achieved by instrumentalists’ tuning down.

As is the case with many Bach scores, we are Bach made an alteration of key to the cantata left with a divergent set of parts. As delineated upon his arrival in Leipzig. Te adjustment seems by Christoph Wolff 13(Table 1), there exists a curious one. Bach conceived of this cantata an initial version in C minor (movements 1–3 in C minor. Te performance materials reveal only), a B-minor version quickly adjusted for a B-minor premiere for his audition. Why did the premiere in Leipzig (with an added fourth B-minor version included parts for the oboe d’amore, while movement), and the final C-minor version the C-minor version includes parts for the oboe. Only one set 14 of parts exists for the harpsichord and bassoon (combined), performed in 1728. Te evidence suggests that cornetto, and trombone (B minor and A minor, respectively, 13 Ibid., 135. purposed for the B-minor performance). Tere are two copies 14 For both versions, the vocal and string parts are written of the continuo part, one in A minor and the other in B♭ at the same pitch level (C minor). Musicians were expected minor. Tese would both sound one whole step higher, as the to transpose at sight or to tune down one half step. Te organ was tuned to Chor-Ton.

7 Bach adjust the key immediately following the trombones 17could play in E minor, which composition’s conception? is comparatively straightforward. But since the oboe, both in terms of pitch and of the key itself, cannot play in B minor (or F sharp Wolf suggests the inclusion of brass as Bach’s minor), an oboe d’amore would have to be motivation for transposition. Wolf explains, substituted. The oboe d’amore is pitched “Te transposition to B minor can hardly have a minor third lower than a regular oboe. been necessitated by any other reason than the Thus, B minor would become D minor, 15 Chorton brass participation.” Bach could have and the F sharp minor should appear as A decided to support the ensemble with colla parte minor. Tese keys, too, are comparatively brass. Ideally, this addition would secure and straightforward. An organ part a tone strengthen the sound. Because of great variations, low would also be necessary; in this way, the addition of these instruments introduced the B minor manuscript for BWV 23 was complications of pitch, necessitating a new key performed on the occasion of the examination 16 for the premiere. In the liner notes of his eighth of the position of Kantor. Tis proven by volume of recorded cantatas, conductor Masaaki the above-mentioned cornet, trombone, and Suzuki ofers an explanation: oboe d’amore parts, as well as the part for the organ written in A minor by Johann Kuhnau.18 Te method used by Bach in this situation was frst to set the strings down a semitone, making the opening of the chorale in B The quick shift to B minor speaks to Bach’s minor, so that the chorale sounds in F practicality. It does not appear to be a decision sharp minor. In this case, the cornet and motivated by afect. Rather, it seems that in the audition setting, many things would have been 15 Ibid., 410. beyond Bach’s control. 16 In the liner notes of his eighth volume of recorded cantatas, conductor Masaaki Suzuki states, “Because the cornet and trombone, like the organ, play in Chorton, while the strings In the years that followed, Bach would have and oboe are pitched one tone lower, one expects to see the music for the former group of instruments written a tone freedom to prioritize aesthetics, design, and lower. Since the fnal chorale (Mvt. 4) is in G minor, this management of resources. Tis freedom reveals means the cornet and trombones must have played in F minor, his original vision for the cantata. Bach’s return but this is truly a disadvantageous key for these instruments… 19 Te method used by Bach in this situation was frst to set the to C minor for the third performance in 1728 strings down a semitone, making the opening of the chorale in 17 In an earlier paragraph, Suzuki states, “Because the cornet B minor, so that the chorale sounds in F sharp minor. In this and trombone, like the organ, play in Chorton, while the case, the cornet and trombones could play in E minor, which strings and oboe are pitched one tone lower, one expects to is comparatively straightforward. But since the oboe, both in see the music for the former group of instruments written a terms of pitch and of the key itself, cannot play in B minor (or tone lower. Since the fnal chorale (Mvt. 4) is in G minor, this F sharp minor), an oboe d’amore would have to be substituted. means the cornet and trombones must have played in F minor, Te oboe d’amore is pitched a minor third lower than a but this is truly a disadvantageous key for these instruments.” regular oboe. Tus, B minor would become D minor, and the 18 F sharp minor should appear as A minor. Tese keys, too, are Masaaki Suzuki, Liner notes of Bach Cantata Series, Vol. 8, comparatively straightforward. An organ part a tone low would 1998. also be necessary; in this way, the B minor manuscript for 19 Te structure and history of Cantata BWV 23 shares an BWV 23 was performed on the occasion of the examination interesting lineage with BWV 245, the Saint John Passion. of the position of Kantor. Tis proven by the above-mentioned Foremost, the two works share the fgural chorale “Christe, du cornet, trombone, and oboe d’amore parts, as well as the part Lamm Gottes.” Also, much like Bach’s decision to return to his for the organ written in A minor by Johann Kuhnau.” Masaaki initial version of the Saint John Passion, Bach returned to his Suzuki, Liner notes of Bach Cantata Series, Vol. 8, 1998. initial conception for the fnal performance of this cantata.

8 frmly establishes C minor as the intended key. Bach deliberated for three months prior to Other evidence seems to confrm this theory. submitting his name. His first thoughts of According to the minutes of the Leipzig application, then, occurred sometime in Executive Council dating January 15, 1723, September or October. Certainly, the test Bach was granted an audition with only three cantata would be foremost in his mind. His weeks to prepare. Terefore, Bach was alerted work, however, hinged upon the libretto. It seems of an ofcial audition no earlier than 16 January improbable that he would have received this prior 1723. If this was the case, it seems highly unusual to the ofcial invitation to audition. So, if Bach that he would conceive Cantata 23 in C minor had no libretto, could he begin? and swiftly alter the key. Instead, he could have considered the variables of an audition setting. Is it possible that Bach conceived of Cantata 23 Bach could have assumed that he would be in the months prior to January? presenting his cantata during or just before the Lenten season. Te ecclesiastical doctrine would indicate worship purposed for somber Only forty miles separated Leipzig and introspection and a focus upon Christ’s sacrifce. Cöthen. Leipzig news would reach Cöthen in Te jubilation of high brass and the kettledrum a reasonable amount of time, and certainly, a would have been inappropriate.21 Bach’s acuity musician of Bach’s curiosity and intellect would of affect-informed worship would be at its remain aware of musical happenings in the highest, as he sought favor with the council and surrounding communities. In August of 1722, the community. Two characteristics of “Christe, Georg Telemann traveled through Cöthen on du Lamm Gottes” could have compelled Bach his way to Leipzig. He may have stopped to visit to include this movement: the theological with his friend Bach and the young Carl Phillip signifcance of the German Agnus Dei and its Emmanuel, Telemann’s godchild. Telemann did demonstration of his capacity in larger forms. not decline the ofer until November. Aware of Even though the physical putting together Telemann’s audition and negotiations for the post of the four-movement form appears to have in Leipzig, Bach ofcially declared his earnest occurred following his arrival in Leipzig, this pursuit of the position in Leipzig, between needn’t bear stalwart witness to his architectural November and December of 1722. In describing intentions. Rather, Bach could have conceived the decision to apply, Bach states, of his four-movement design, composed the frst three movements, and then assembled the whole. Considering the necessary key change, Tough at frst, indeed, it did not seem at it would not make sense for Bach to create a all proper to me to change my position of new copy in c minor to accompany the frst three Capellmeister for that of Cantor. Wherefore, movements. Tis would not be a prudent use of then, I postponed my decision for a quarter his time in these circumstances. His original copy of a year; [italics added] but this post was produced in Weimar would serve just as well for described to me in such favorable terms… the purpose of transposition. I cast my lot [italics added], in the name of the of Johann Sebastian Bach in Letters and Documents, 125. Tis Lord, and made the journey to Leipzig, took passage is excerpted from a Letter to Georg Erdmann, Imperial Russian Resident agent in Danzig. At this time, relations my examination, and then made the change between Bach and the Leipzig council were strained. Bach was 20 of position. seeking a new position. 20 Hans T. David and Arthur Mendel, Te Bach Reader: A Life 21 Wolf, Bach: Essays on His Life and Music, 135.

9 With respect to the source materials, one detail Te Libretto remains to be addressed. Te word fne is written in Bach’s score at the end of movement three. Tis suggests that, in Bach’s original scheme, Prior to his arrival, the Executive Council movement three completed Cantata 23. A simple provided Bach with the libretto for his Probestück adjustment of perspective could account for (audition piece). As a theologian, Bach would this fact. Consider the scene. Te pre-existing have been acutely aware of the theological movement “Christe, du Lamm Gottes” acting as currents and implications of the text supplied impetus, rather than afterthought, would leave to him. Bear in mind that the original libretto only three additional movements to create. Te submitted to Bach did not include the final written word fne at the end of movement three chorale of Cantata 23, Du Wahrer Gott und indicates not the end of the work, but rather Davids Sohn. the end of Bach’s work, an end symbolizing much in his eyes. For him, a great sense of accomplishment and significance may have As would be the pattern for Bach’s frst year in accompanied his fnal pen stroke, knowing the Leipzig, the texts’ author conceived of them as gravity of this potential move and its implications a unifed whole, to be presented before and after for the focus of his future work. the sermon. Te anonymous poet, assumed to be Gottfried Lange22 based them upon the gospel of the day (Luke 18).

22 A member of the Executive Council charged with hiring the next Kantor of the Tomkirsche, Lange was a staunch supporter of Bach.

Table 2. Te gospel of the day is listed below.23

Quinquagesima Sunday

Gospel: Luke 18.31–43 Jesus and the twelve disciples go to Jerusalem and the healing of a blind man.

BWV 22 31 Ten he took [unto him] the twelve, and said unto them, Behold, we go up to Jerusalem, and all things that are written by the prophets concerning the Son of man shall be accomplished. 32 For he shall be delivered unto the Gentiles, and shall be mocked, and spitefully entreated, and spitted on: 33 And they shall scourge [him], and put him to death: and the third day he shall rise again. 34 And they understood none of these things: and this saying was hid from them, neither knew they the things which were spoken. BWV 23 35 And it came to pass, that as he was come nigh unto Jericho, a certain blind man sat by the way side begging: 36 And hearing the multitude pass by, he asked what it meant. 37 And they told him, that Jesus of Nazareth passeth by. 38 And he cried, saying, “Jesus, [thou] Son of David, have mercy on me.” 39 And they which went before rebuked him, that he should hold his peace: but he cried so much the more, “[Tou] Son of David, have mercy on me.” 40 And Jesus stood, and commanded him to be brought 23 King James Translation.

10 unto him: and when he was come near, he asked him, 41 Saying, “What wilt thou that I shall do unto thee?” And he said, “Lord, that I may receive my sight.” 42 And Jesus said unto him, “Receive thy sight: thy faith hath saved thee.” 43 And immediately he received his sight, and followed him, glorifying God: and all the people, when they saw [it], gave praise unto God.

Cantata No. 22 Jesus nahm zu sich die Zwölfe und sprach *Te italics indicate a chorale text. Bold face indicates a scriptural text.

1 Jesus nahm zu sich die Zwölfe und sprach: Jesus took the twelve to himself and spoke: Sehet, wir gehn hinauf gen Jerusalem, See, we are going up to Jerusalem und es wird alles vollendet werden, and all will be accomplished. das geschrieben ist von des Menschen Sohn. Tat has been written about the Son of Man. Sie aber vernahmen der keines But they understood none of this und wußten nicht, was das gesaget war. and did not know what had been said

2 Wohl mir, wenn ich die Wichtigkeit Mein Jesu, ziehe mich nach dir, Von dieser Leid- und Sterbenszeit Ich bin bereit, ich will von hier Zu meinem Troste kann durchgehends wohl Und nach Jerusalem zu deinen Leiden gehn. verstehn!

Happy am I, if the importance My Jesus, draw me after you, of this time of sufering and death I am ready, I want to go from here I can thoroughly understand for my and up to Jerusalem to your sufering. consolation.

3 Mein Jesu, ziehe mich, so werd ich laufen, My Jesus, draw me, so that I shall hurry after you, Denn Fleisch und Blut verstehet ganz und gar, for fesh and blood completely fails to understand Nebst deinen Jüngern nicht, was das gesaget war. just like your disciples—what was said. Es sehnt sich nach der Welt Flesh and blood long for the world und nach dem größten Haufen; and the greatest crowds; Sie wollen beiderseits, they want on both sides, wenn du verkläret bist, when you have been transfgured, Zwar eine feste Burg auf Tabors Berge bauen; to build indeed a strong fortress on Mount Tabor; Hingegen Golgatha, so voller Leiden ist, in contrast, Golgotha, that is full of sufering In deiner Niedrigkeit in your humiliation, mit keinem Auge schauen. they do not want to behold at all. Ach! kreuzige bei mir in der verderbten Brust Ah! crucify for me in my corrupt breast Zuvörderst diese Welt und die verbotne Lust, frst of all this world and the forbidden pleasures, So werd ich, was du sagst, and then I shall perfectly vollkommen wohl verstehen understand what you say Und nach Jerusalem mit tausend Freuden gehen. and go to Jerusalem with a thousand joys

11 4 Mein alles in allem, mein ewiges Gut, My all in all, my everlasting good, Verbeßre das Herze, verändre den Mut; beat down everything Schlag alles darnieder, which is against this denial of the fesh! Was dieser Entsagung des Fleisches zuwider! but when I am spiritually dead, Doch wenn ich nun geistlich ertötet da bin, then draw me after you in peace So ziehe mich nach dir in Friede dahin! make better my heart, change my disposition

5 Ertöt uns durch dein Güte, Kill us through your kindness Erweck uns durch dein Gnad; awaken us through your grace; Den alten Menschen kränke, make sick the old man, Daß der neu' leben mag so that the new man may live Wohl hie auf dieser Erden, well here on this earth, Den Sinn und all Begehren so that the mind and all desires Und G'danken hab'n zu dir. and thoughts may be directed to you.

Cantata No. 23 Du wahrer Gott und Davids Sohn

1 Du wahrer Gott und Davids Sohn, Mir gleichfalls Hilf und Trost geschehen. Der du von Ewigkeit in der Entfernung schon You true God and son of David, Mein Herzeleid und meine Leibespein who already from eternity and from afar Umständlich angesehn, erbarm dich mein! my heartache and bodily pain Und lass durch deine Wunderhand, have seen intimately, have mercy on me! Die so viel Böses abgewandt, And let your miraculous hand, that has turned aside so much evil, act for me likewise as help and consolation.

2 Ach! gehe nicht vorüber; Ah! do not pass by, Du, aller Menschen Heil, you, the salvation of all mankind, Bist ja erschienen, have indeed appeared Die Kranken und nicht die Gesunden zu bedienen. to serve the sick and not the healthy. Drum nehm ich ebenfalls an deiner Terefore I too take my share in your Allmacht teil; omnipotence; Ich sehe dich auf diesen Wegen, I see you on this road Worauf man Mich hat wollen legen, where they wanted to let me lie, Auch in der Blindheit an. blind as I was. Ich fasse mich Und lasse dich I recollect myself and do not let you go Nicht ohne deinen Segen. without your blessing.

12 3 Aller Augen warten, Herr, All eyes wait, Lord, Du allmächtger Gott, auf dich, Almighty God, upon you, Und die meinen sonderlich. and my eyes especially. Gib denselben Kraft und Licht, Give them strength and light, Laß sie nicht do not leave them Immerdar in Finsternissen! forever in darkness! Künftig soll dein Wink allein In future a sign from you alone shall be Der geliebte Mittelpunkt the beloved focus Aller ihrer Werke sein, of all their work Bis du sie einst durch den Tod until once and for all in death Wiederum gedenkst zu schließen. you decide to close them again.

4 Christe, du Lamm Gottes, Christ, you lamb of God, Der du trägst die Sünd der Welt, you who take away the sins of the world, Erbarm dich unser! have mercy on us! Christe, du Lamm Gottes, Christ, you lamb of God, Der du trägst die Sünd der Welt, you who take away the sins of the world Gib uns dein' Frieden. Amen. grant us your peace. Amen

The resulting libretto divides the scripture the scripture, purposed to personalize the into two distinct narratives with Pietistic tones. verses for the listener.25 Te libretto of Cantata In large, Cantata BWV 22 deals with the sinner’s BWV 23 focuses upon the cry of the blind for plight: yearning for deliverance from the shackles healing. Blindness is a metaphor for the sin of of sin and sanctifcation. Te frst movement of all mankind. Te frst movement begins with Cantata BWV 22 consists of scriptural prose,24 the blind man’s outcry, “You are true God and while the subsequent movements reinterpret David’s Son.” In this freely composed verse, the poet takes a more passive stance. In the second 24 Alfred Dürr. Te Cantatas of J.S. Bach. (Oxford: Oxford University Press, 2006), 246. Dürr describes the theology of movement, the voice of the blind man gains Cantata BWV 22 “Two verses from the Gospel, Luke 18:31 courage and becomes assertive. In the third and 34, preface the text like a heading: they are concerned with movement, the theme of blindness continues.26 the announcement of the Passion and the incomprehension of the disciples (no. 1). Te following movements reinterpret this Te parable and its poetic rendering inspired his text in order to make it relevant to the present-day Christian, creative realization of the words. He refected on whom Jesus is also willing to take with Him on His bitter path to the cross, so that he might grasp the event and fnd 25 comfort in it (no. 2). For the Christian is in the same plight as Ibid. Jesus’s disciples, who are unable to comprehend His Passion 26 Still linked to the parable at hand, the librettist alludes to and would rather participate in His Transfguration on Mount other scriptures. Dürr highlights these references, “Te words Tabor, a reference to Matthew 17.1–9 (no. 3). Te libretto ends ‘You…have indeed appeared to serve the sick and not the with the prayer that heart and spirit might be made capable healthy’ (no. 2) recall Mark 2.17; the closing words of the same of the ‘renunciation of the fesh’, so that Jesus might draw movement, ‘I…do not let You go without Your Blessing’ refer the Christian to Him after his death (no. 4). Te concluding to Genesis 32.26; and the opening of the following chorus, (no. chorale—the ffth verse of the hymn Herr Christ, der einig 3), refers to Psalm 145.15 in its assertion that not only the eyes Gotts Sohn by Elisabeth Creutziger (1524)—allows the whole of the blind but those of all, and therefore mine too, wait upon congregation, as it were, to unite in this prayer.” the Lord.” Ibid.

13 its meaning, and intended his setting to animate Leipzig and its worship ward, the fnal presence the implications, particularly as the church of the Agnus Dei chorale seems foundational approached the Lenten season. to the theology of the cantata. The first movement establishes man’s separation from God (blindness); the second movement refects the At its core, Pietism focused upon the human sinner’s individual recognition of need (soloist); striving for sanctifcation in daily life, yet the the third extends this idea in a communal sense Lutheran Orthodoxy held Christ’s sacrifce as (chorus); and the fnal movement refects the paramount. Compare the following words of pain, sacrifce, and ultimate triumph of the cross. Luther, “Be a sinner and sin strongly, but more strongly have faith and rejoice in Christ,” with the Pietistic poetry of the fourth movement of Axis of the Subdominant Cantata 22, “Make better my heart, change my disposition; beat down everything which is against this denial of the fesh!” In the frst three A thorough examination of Cantata 23 yields a movements, the Pietistic prose does not mention symmetrical constellation that seems to confrm the death of Christ or the cross. An interesting a four-movement conception. Bach derives his paradox can be seen. While Pietistic tones color mode of design from the Agnus Dei melody 28 the poetry, the Orthodoxy of the high church, (Example 1). Te span of the initial pitch of popular in Leipzig, demanded an elaborate the chorale to the apex is the interval of a fourth, interpretation of the libretto and a commitment indicating a priority of the subdominant. to the liturgy. Appeasing both factions, Bach incorporated aspects of the Orthodoxy and the Pietism. Te inclusion of the fnal movement “Christe du Lamm Gottes” addresses the omission of the cross. 28 Karl Hochreither. Performance Practice of the Instrumental- Vocal Works of Johann Sebastian Bach, (Lanham: Scarecrow Press, 2002), 176. Of the 192 extant cantatas (excluding the cantatas of the Christmas Oratorio), 177 have a chorale. Of He saturates the cantata with the chorale tune, the 15 without a chorale, ten were composed in Leipzig. placing it prominently in movements two and Of those ten, fve were likely based on instrumental models 27 from the Cöthen period, two were occasional (wedding and three. When considered in the context of Bach’s funeral), and one was based on a text from the ordinary. Te two remaining cantatas are solo works. Elaborations include: 27 Martin Luther placed the German Agnus Dei (“Christe du cantional settings (four-part chordal textures with the melody Lamm Gottes”) in the Deutsche Messe. It was published as in the soprano voice), motet-like arrangements, cantus frmus the setting for the Agnus Dei in Bugenhagen's 1528 manual. treatments in obbligato instruments or vocal parts, arias with Ulrich S. Leupold, editor of Martin Luther's hymns and added cantus frmi, chorales with short instrumental interludes, liturgies (vol. 53 of Luther's Works, 1965), suggests that Luther retrograde inversions of chorales, motivically derived material may be the tune's arranger. It seems to derive from a Kyrie (of the chorale tune) in the orchestra, ritornello themes based melody (Gregorian Tone 1) that Luther used in his German on the frst lines of chorales, and opening head motives used in Mass of 1526. the instrumental parts.

Example 1. Opening Phrase of “Christe, du Lamm Gottes”

14 Accordingly, he designed a carefully structural axis and the heart of the doctrine.30 constructed matrix—an axial-symmetry of Below, a schematic (Table 3) highlights the subdominant—based upon the first line its prominent appearance, assuming the of the chorale tune.29 It functions as both the original key of C minor.

29 Ibid., 176. 30 Ibid., 177.

Table 3. Axial Symmetry of Cantata BWV 23

Movement (mv) I II III IV Measures per mv 62 15 153 58 Axis of Subdominant c f E♭ f g F C Measure within the mv 40 77 35

A pattern within Table 3 is worth observing. If notated on a staf, these prominent key areas indicate a chiastic fgure: F-E♭-F-G-F.

Example 2. Chiastic Figure

Each movement assumes its respective role with a fnal plagal gesture, moving from the in executing the model. In the frst movement, subdominant to the tonic. we can see the structural refection of the fourth movement within the larger scope of the cantata. Te head of the aria in movement one appears Numerous proofs of Bach’s love for architectonic in a curious subdominant orientation (m. 40), design exist. In his book, Performance Practice of refecting the extended cadence in F major (m. the Instrumental-Vocal Works of Johann Sebastian 35) of movement four. Both are of approximately Bach, Karl Hochreither states, “Bach’s tendency equal length, and prioritize the subdominant toward symmetrical large-scale structures shows at approximately the same ratio of measures; itself early in his career, as in Cantata BWV 106 In the case of the first movement, at m. 40 “Gottes Zeit ist die allerbeste Zeit,” for example of 62 total measures, and in the fourth where he incorporates a chorale at the center movement, at m. 35 of 58 total measures.31 In (the work is designed axial-symmetrically).” m. 77 (of 153) of the third movement, Bach In discussing the St. John Passion, Eric Chafe writes his central ritornello in F minor. In the offers, “The key areas of the Passion follow fourth movement, Bach finishes the cantata a principle—the ambitus of closely related keys—that holds for the vast majority of Bach’s 31 When divided, these ratios produce a similar quotient: compositional oeuvre.” Chafe gives an account 40/62 = .64 and 35/58 = .60. of Bach’s revisions and substitutions. In his

15 1725 version, Bach ensured that, despite the with limited alteration, set with various canonic variance of keys of the substitute movements treatments and doublings in the orchestra. In the with regard to their counterparts, that, “…in all second movement, the unafected chorale tune instances, without exception, they adhered to appears as a striking cantus frmus in the oboes this principle.” and frst violins, serving as an accompaniment to the tenor recitative. In the third movement, Bach moves to a new plane of expression. Te frst line Locally, Bach creates several planes of musical of the chorale appears as the foundation of the exegesis through use of the chorale tune. In ritornello (Example 3). the fourth movement, he deploys the melody

Example 3. Ritornello, Movement Tree, mm. 12-20, Bass Voice

Unlike the final three movements, the first substantiating evidence within each movement movement does not ofer a quote or paraphrase as realized within the specifcs of Bach’s design. of the chorale tune. Let us now examine the

Movement One

Figure 2. Movement One Overview

Type Form Key Meter Tempo Forces Double Duet Da Capo C minor C Molt’ adagio SA soli Oboe 1 and 2 Basso Continuo

Text and Translation

1 Du wahrer Gott und Davids Sohn, You true God and son of David, Der du von Ewigkeit in der Entfernung schon who already from eternity and from afar Mein Herzeleid und meine Leibespein my heartache and bodily pain Umständlich angesehn, erbarm dich mein! have seen intimately, have mercy on me! 2 Und lass durch deine Wunderhand, And let your miraculous hand, Die so viel Böses abgewandt, that has turned aside so much evil, Mir gleichfalls Hilf und Trost geschehen. act for me likewise as help and consolation.

16 Cantata 23 begins with a double duet of mercy throughout the cantata. “Erbarm dich…” voices and instruments, scored for soprano appears in the fnal line of part one. Tese words and alto soloists, oboes, bassoon, organ, and reappear in the third line of the chorale tune of continuo. Te poetic text can be divided into movement four. To maintain focus on this plea, two parts. Te frst refects central tenets of the Bach designs a scheme that begins and ends with Lutheran faith. It establishes the dual nature of this idea. Christ, “You are true God and true man.” Te author transitions attention from Christ to the human plight, completing part one with a cry for The initial motive (here called the “David” help. In part two, the poet once again describes motive) bears both tonal and structural the power of Christ and completes the prose with significance. The first oboe introduces this the humble hope for healing. Te sentiment of mournful fgure, echoed swiftly by the second the poetry inspired Bach to weave a theme of oboe, and fnally by the basso continuo.

Example 4. David motive, Movement One, mm. 1-3, Oboe I

Bach saturates the movement. This motive Structure appears in 59 of the 62 measures, with a total of 107 iterations. It acts as a barometer throughout, as chromatic embellishments depict the Te David motive previews the coming tonal uncertainty of blindness, directly drawn from the landscape, outlining each major area of the ♭ scripture of the day. Te motive mutates. Even aria (G-F-A -C), as each pitch functions as an while the tonality becomes murky, each variant element of the harmonic structure. While the retains communicative power and a recognizable opening aria aligns most closely with the simple structure. He heightens the sense of sorrow by ternary aria form, Bach avoids strict simple including frequent suspensions, weeping melodic ternary by omitting the tutti/ritornello following 32 half-steps, and harmonic distress. B and preceding A'.

32 Te underlying poignancy of Christ’s sufering In her dissertation, Patricia Metzler identifes this aria as a combination of Kirchenarie Types 2 and 3, “In Kirchenarie found here reappears in the oboe fgure of the of Type 3, the recapitulation involves the return of the frst fnal movement. vocal period in a modifed form. When the frst vocal period is introduced in the beginning, it does not end on the tonic and, thus, has to be modifed in the recapitulation to allow the aria to cadence in the tonic. Te recapitulated text always involves one or several verses which can stand on their own,” 46–49.

17 Figure 3. Major Formal Divisions of Movement One

1 11 24.3* 32.3 40.3 54 62 Measures 10 13.5 8 8 13.5 8 (+1) (3.5+4.5+2) (3.5+4+3+3) (3.5+4.5) (4+4) (3.5+4+3+3) (3.5+5.5) Tona lit y c C g A♭ f c Function i I v 5ths iv i Tematic Ritornello A Ritornello B A1 Ritornello Text 1 2 1

* Measure numbers and beats are notated as follows: the frst number indicates the measure, the second number indicates the beat within the measure. For example, 23.4 refers to the fourth beat of the 23rd measure.

Measures 1–24 are in C minor. From m. 24 to m. heralding a subdominant return. Tis return 32, Bach transitions to G minor. In the following parallels the appearance of the subdominant in four bars, a harmonic sequence arrives at A♭ the fnal third of the fourth movement. major in m. 36. Te feeting A♭ pivots to F minor,

Movement Two

Figure 4. Movement Two Overview

Type Form Key Meter Tempo Forces Recitative Accompanied A♭ – E♭ C a tempo Tenor solo Oboe 1 and 2 Violin 1 and 2 Viola Basso Continuo Text and Translation

1 Ach! gehe nicht vorüber; 1 Ah! do not pass by, Du, aller Menschen Heil, you, the salvation of all mankind, 2 Bist ja erschienen, die Kranken und nicht die 2 You have indeed appeared to serve the sick and Gesunden zu bedienen. not the healthy. 3 Drum nehm ich ebenfalls an deiner 3 Terefore I too take my share in your Allmacht teil; omnipotence; 4 Ich sehe dich auf diesen Wegen, Worauf man 4 I see you on this road where they wanted to let mich hat wollen legen, auch in der Blindheit an. me lie, blind as I was. 5 Ich fasse mich und lasse dich Nicht ohne deinen 5 I recollect myself, and do not let you go without Segen. your blessing.

18 Bach realizes this text as an accompanied this ancient melody. Clearly, Bach aims to bring recitative scored for tenor and full orchestra. A prominence to the chorale tune. He marries striking feature and a frst for Bach,33 the oboes the recitative and the augmented chorale tune, and violins are combined to play the hymn tune depicting the interaction of sinner and savior. By “Christe du Lamm Gottes.”34 An eighteenth- doing so, Bach telescopes focus toward the cross. century listener would immediately recognize 34 Text of Chorale Tune: 33 Christ, you lamb of God, It is uncharacteristic of Bach to combine winds and strings you who take away the sins of the world, during recitative. Phillipp Spitta, Johann Sebastian Bach, His have mercy on us! Work and Infuence on the Music of Germany. (London: Novello, Christ, you lamb of God, 1951), 351. you who take away the sins of the world grant us your peace. Amen.

Figure 5. Major Formal Divisions of Movement Two 1 6 11 15 Measures 5 5 5 (2+3) (2+3) (2+3) Tona lit y A♭ c f E♭ Function VI/c Modulatory III/c (mod.) Text 1–2 3–4 5

Tis movement acts as an intimate transition. Te open in A♭ major. Bach never strays far from the sostenuto of the chorale, a foil to the drama of the C-minor axis, to which he returns for the cadence recitative, seems to suspend the listener in time. in m. 6. Te portal now swings in the opposite Harmonically, Bach exploits the relationship of direction, and E♭ becomes the tonal center. Te a third. In this movement, he descends from fnal perfect authentic cadence indicates the hope the frst movement’s fnal tonality of C minor to of the believer.

Movement Tree

Figure 6. Movement Tree Overview

Type Form Key Meter Tempo Forces Chorus Ritornello E♭ major 3/4 No Mark SATB Chorus TB soli Oboe 1 & 2 Violin 1& 2 Viola Basso Continuo

19 Text and Translation

1 Aller Augen warten, Herr, All eyes wait, Lord, 2 Du allmächtger Gott, auf dich, Almighty God, upon you, 3 Und die meinen sonderlich. and my eyes especially. 4 Gib denselben Kraft und Licht, Give them strength and light, 5 Laß sie nicht immerdar in Finsternissen! do not leave them forever in darkness! 6 Künftig soll dein Wink allein In future a sign from you alone shall be 7 Der geliebte Mittelpunkt aller ihrer Werke sein, the beloved focus of all their work 8 Bis du sie einst durch den Tod until once and for all in death 9 Wiederum gedenkst zu schließen. you decide to close them again.

The joyous third movement introduces the Like the preceding recitative, the ritornello is chorus. In a nine-part form, this movement highly infuenced by the chorale tune. Tis grand consists of fve ritornelli and four solo sections. movement occupies over half of BWV 23. In Bach’s early cantatas, he rarely indicates the 35 specifc use of soli; BWV 23 is an exception. some for the performance of Cantata BWV 71 on the occasion of the council election in Mühlhausen, and later for the 35 Christoph Wolf writes, “Tere is no evidence of solo-tutti performance of Cantatas BWV 22 and 23 for Bach’s audition diferentiation (i.e., alternation of soloists and ripienist in as cantor in Leipzig,” in “Choir and Instruments” in Te World large-scale choruses) during the Weimar period, but there is of Bach Cantatas, 148.

Figure 7. Major Formal Divisions of Movement Tree

1 32 46 61 77 85 97 105 129 153 Measures 31 14 15 16 8 12 8 24 25 (8+8+7+8) (7+7) (8+7) (3+8+5) (6+6) (6+6+7+5) (8+8+9) Tona lit y E♭ B♭ B♭ B♭ – f f c c g g – E♭ Function I V V Mod. ii vi vi iii iii – I Tematic R1 A R2 B R3 C R4 D R5 Text 1-2 3 1-2 4-5 1-2 6-7 1-2 8-9 1-2

20 Bach begins and ends this movement with E♭ minor, the axis of the cantata. Te subsequent as tonic. Over the course of the movement, he sections, both ritornelli and soli, appear in minor. explores a larger tonal palette. He divides this Following eight bars of transitional material in movement into two halves; with 153 measures the orchestra, the fnal ritornello concludes in the total, the central ritornello of the movement occurs original key of E♭. in measure 77. Bach spends the frst half in major; the second half deals largely in minor, preparing the listener for the fnal movement. Five ritornelli Bach deploys a ritornello of joy and realism. Four act as the seams of this extended movement. components coalesce to form the structure: the Bach has interspersed four duets for tenor and chorale tune, a countermelody, a minuet fgure, bass between the ritornelli. Like the ritornelli, and a harmonic-contrapuntal completion. As these interludes become increasingly complex and the foundation, he presents the chorale tune in chromatic moving toward center of the movement. augmentation. At the center (m. 77 of 153), Bach shifts to F

Example 5. Ritornello, Movement Tree, mm. 12-20, Bass Voice

In the fourth bar, Bach interpolates the chiastic musical rendering of the cross. He places the figure. In doing so, Bach combines the text countermelody in the soprano. “Aller Augen warten,” (All eyes look) with a

Example 6. Ritornello, Movement Tree, mm. 12-20, Soprano Voice

With guarded optimism, it ascends in a joyous this melody reflects the bittersweet nature of sweep, only to hesitate on the prominent lowered the Lenten season. Te minuet fgure refects a seventh (D♭). Born of the promise of salvation dignifed and graceful quality. and tempered by the sadness of Christ’s sacrifce,

Example 7. Ritornello, Movement Tree, mm. 12-20, Tenor Voice

21 Finally, the varying fourth component acts as a tune prominently in the soprano, oboes, and frst harmonization to the countermelody. Together, violins. In a dramatic departure, the chorale tune these frame each ritornello. mutates to minor, including the leap of a tritone between mm. 79 and 80. Te angular nature of this version signals a shift. Te F-minor section The opening 77 measures present several is short, yet potent. Te following solo sections ♭ expressive techniques. Bach deals mainly in E continue with dissonance and chromaticism. Now ♭ and B major, with subsections of varying texture. in C minor, Bach imbeds the chorale tune in the In the frst episode of solo writing, Bach creates alto voice, maintaining the prominent augmented a pattern to which he adheres for the movement. fourth. In mm. 85–96 and mm. 105–116, Bach Te tenor and bass dance in canon, calling and paints a stark picture, eliminating all instruments responding to one another. Te ritornelli emerge but soloists and continuo. from the divergence of the solo writing to remind the congregation that Christ is the author of salvation with the text “Aller augen…” Of the six Bach uses two tools to emphasize the doctrinally ritornelli present, fve include the chorale tune,36 critical text, “durch den Tod” (for all in death). always in the bass voice (or continuo). Te sixth For the second and final time, the voices are ritornello does not. Here (mm. 54–60), Bach paired homorhythmically, acting as one entity. prepares the listener for the murky waters of the Tis brings clarity to the text declamation. In m. second half. He omits the chorale tune, leading to 119, the tenor sounds a tritone above the bass on the transitional material of mm. 61–76. Te text of the word “Tod ”, sustaining this interval for four mm. 61–76 begins with a request for strength and beats. Bach infuses the text with the anguish light, “Gib denselben Kraft und Licht”. Te brief and pain of this most dissonant interval. At the cadence (A♭) on the downbeat of m. 64 acts as a brink of hopelessness, he slowly refocuses on the pivot chord, introducing a highly signifcant shift hope of the cross. Above, the oboe presents the to the subdominant axis of F minor. Te oboes countermelody in fragmentation. Te voices break confrm this modulation. Now, the voices share a free, and transition from “Tod” (death) to hope in brief dialogue with the oboe. More signifcantly, the subsequent ritornello. Here, the chorale tune this is one of two gestures in which the voices are returns in the tenor voice, refecting the original not in canon, but act as one instrument. In the version.37 Bach restores the countermelody to the following measures, Bach distorts the previous soprano line. In m. 137, the orchestra executes a tonal security with chromaticism introduced on transition, and then, the fnal ritornello heralds the word Finsternissen (darkness). He furthers the hope of restoration in its original key and the disorientation by bringing the tenor and the voicing. While this movement ends in E♭ -major, bass into close proximity to one another, twisting, the internal tonal areas point to the pain caused by turning and crossing, depicting the confusion of sin, increasing the connection to the cross. blindness caused by separation from God.

Refecting his carefully constructed design, Bach enacts several transformations in the second 37 half. He reassigns the contrapuntal roles in the Most easily heard in the soprano voice of mm. 79–80, this gesture corresponds to mm. 131–132 in the tenor voice, and central ritornello (m. 77), placing the chorale mm. 147–148 in the bass voice, with Bach omitting the tritone 36 Each chorale tune includes an interpolated chiastic fgure. and approaching the chiastic fgure by step.

22 Movement Four

Figure 8. Movement Four Overview

Type Form Key Meter Tempo Forces Chorale Strophic g minor/ C Adagio Tut ti Chorus modulatory Andante

Text and Translation

Christe, du Lamm Gottes, Christ, you lamb of God, Der du trägst die Sünd der Welt, you who take away the sins of the world, Erbarm dich unser! have mercy on us! Christe, du Lamm Gottes, Christ, you lamb of God, Der du trägst die Sünd der Welt, you who take away the sins of the world Gib uns dein' Frieden. Amen. grant us your peace. Amen.

Scholars have referred to this fnal movement Like the frst movement of the Concerto, as both a chorale fantasia chorus and a fgural the Choral Fantasia colours and defnes the chorale.38 Problems arise in labeling, as no whole Cantata. Its grand purpose was, in universal terminology exists.39 Charles Sanford Spitta’s words, ‘the perfect poetic and musical Terry labels it a Choral Fantasia. Acknowledging development of a particular Hymn by means Cantata 23 as an exception to the rule, he states of all the artistic material which Bach had that the chorale fantasia would typically open the assimilated by a thorough study of the art cantata, coloring and defning the whole, of his own and former times.’ In the Choral Fantasia, the hymn, words and melody, is presented with all the technique of Bach’s The Leipzig Cantatas are distinguished mature genius. It is perfect and complete in generally from those of the earlier periods itself, and yet a detail in an ordered whole… of Bach’s activity by the magnifcent Choral With few exceptions all (choral fantasias) are Fantasias which he introduced into them, the opening movement of a Cantata…Te generally as their opening movement… exceptions are … No. 23 (among others), 40 38 Christoph Wolf, Bach: Essays on His Life and Music, 128. which is the concluding movement. 39 A fgural chorale is defned as, “an organ chorale (or chorale prelude) in which a distinct fgure or motif is exploited in one or another contrapuntal part throughout the piece, usually below the cantus frmus but not obviously derived from it. As such the term is sometimes used for a type of organ chorale found in (e.g.) Bach’s Orgelbüchlein (1713–15).” Peter Williams and Robin A. Leaver, “Figural Choral,” Grove Music Online (accessed February 10, 2012), http://www.oxfordmusiconline. 40 Charles Sanford Terry, Bach’s Chorals: Part II Te Hymns com.lib-e2.lib.ttu.edu/subscriber/article/grove/music/09624?q=f and Hymn Melodies of the Cantatas and Motetts, (Cambridge: igural+chorale&search=quick&pos=17&_start=1#frsthit. University Press, 1917), 35-37.

23 Christof Wolf calls movement four a fgural oboes and frst violins of the second movement, chorale.41 Strictly defned by Grove Music Online, the structural foundation of the ritornello in a fgured chorale is, the third movement, and the prominent cantus frmus of the fnal chorale. In the case of the frst movement, we can see the structural refection An organ chorale (or chorale prelude) in which of the fnal movement in the larger scope of the a distinct fgure or motif is exploited in one cantata, as both prioritize the subdominant at the or another contrapuntal part throughout the same ratio of measures. Te fourth movement also piece, usually below the cantus frmus but not refects Wolf’s assessment, particularly in the frst obviously derived from it. As such the term statement of the chorale. Te orchestra maintains is sometimes used for a type of organ chorale independent fgures while the choir ofers the 42 found in (e.g.) Bach’s Orgelbüchlein (1713-15) chorale. After m. 19, the opening orchestral fgures give way to a largely colla parte texture. Both defnitions intersect with some aspect of this movement. As described by Terry, the choral Te German Agnus Dei, “Christe, du Lamm Gottes” fantasia acts as a generator for the tone of the would commonly be sung during communion. cantata, “colouring” and “defning” the whole. We Tis text is the only direct reference to scripture can see the infuence of the chorale tune in three in the libretto, a reminder of Bach’s attention to of the four movements: the cantus frmus in the the orthodoxy. In the Gospel of John (1:29)43 ,John the Baptist exclaims, “Behold the Lamb of God, 41 Christoph Wolf, Essays on His Life and Music, 128. who takes away the sin of the world.” 42 Peter Williams and Robin A. Leaver, “Figural Choral,” Grove Music Online (accessed February 10, 2012), http:// www.oxfordmusiconline.com.lib-e2.lib.ttu.edu/subscriber/ article/grove/music/09624?q=fgural+chorale&search=quick&p 43 Lamb imagery is also derived from passages in Isaiah (53:7) os=17&_start=1#frsthit. and in Jeremiah (11:19).

Figure 9. Major Formal Divisions of Movement Four

Measures 1 5 9 12.3 14.3 19.3 25 28 32 35.3 38.3 43.3 46 48.3 51 53.3 58 18.5 19 15 5.5 (4+4+3.5+2+5) (3+2.5+3+4+3.5+3) (5+5+5) Function v/Mod. Modulatory Modulatory IV – I Tona lit y g c F/f B♭ g D g F B♭ g c D F F C Chorale Soprano B♭ m.5 Soprano B♭ m.19.3 Soprano B♭ m.38.3 Tune Oboes F m.20 Violins B♭ m.38.3 Violins D m. 21

24 While Bach ofers three settings of this text, with B♭ as the tonic. Two beats later, the oboes he creates two levels of formal division. The assume priority, beginning their cantus frmus structural division exists on the textual plane. on F. Finally, the violins ofer one executed in Already prefgured in the second movement, the D major. Te remaining voices in the orchestra appearances of the chorale tune here act as the support the lower three voices. Bach continues structural boundaries. One repetition functions with short interpolations between lines of the as one third of the movement (in measures). chorale. In his most extended realization of the Orchestral writing frames the iterations. Te tonal axis, Bach emphasizes the subdominant of initial homophonic statement follows a funeral C (F) in mm. 33–35. march in the orchestra. Te second presents as a canon in the sopranos, oboes and frst violins. Te third pairs with a new and vibrant counter melody Te canonic statement of the fnal strophe ushers in the oboes. Each repetition functions as one in a march of hope. For the first time, Bach third of the movement (in measures). Bach creates presents the fnal line of the chorale text, “Gib uns a secondary level of formal division by adjusting dein’ Frieden” (Grant us your peace). He maintains the tempo. In m. 19, the initial adagio gives way the prominence of the chorale tune in the soprano to a fnal andante. In essence, the fnal two-thirds voice, doubled by the violins. Rhythmically vital, of the music are doubled in speed. Because of this the oboes’ joyous counter figure prepares the tempo shift, m.19 becomes the sonic midpoint, arrival of the fnal amen. In this gesture, Bach with equal time on either side. encapsulates the Lutheran theology. He brings the listener from tragedy to peace. He transforms the death march of the opening sequence into the Bach pairs the frst full statement of the chorale concluding dance of joy and freedom. In fnal bars, with the continued development of the material he confrms the signifcance of the subdominant found in the frst four bars. Te homorhythmic by choosing a plagal cadence. pulse of the opening strings can be heard as Christ’s walk to the cross, emphasizing the oppression of sin. A foil to the expansive frame, (Figure 10 on next page) Bach sets the chorale in a staid, four-part texture. By doing so, he communicates the theological signifcance and priority of this text. Between each line of text, he interpolates one and one half measures of fgural punctuation. After the fnal line, he concludes the opening section with a postlude symmetrical to the opening. Averting expectation in the fnal cadence of the chorale, Bach surprises with a second statement of the same text, coupled with an active counterpoint and a new tempo.

In his second setting of the chorale (mm. 19– 35), Bach creates a canon of three voices. Te sopranos deliver the frst notes of the cantus frmus

25 Figure 10. Setting and Harmonization of the Hymn “Christe, du Lamm Gottes”

Figure 10 depicts the three harmonizations Here, the Agnus Dei becomes the fnal prayer employed by Bach. Each box in the figure of the work, bearing witness to all of Bach’s represents one beat, making it possible to assess compositional power. With full forces, he the amount of music Bach assigned to each utilizes both a four-voice style and cantus-frmus strophe. When examined, a few patterns emerge. technique. Bach brings the cantata full circle, Te opening strophe is the shortest. Te second initially introducing the chorale in the instruments strophe receives the most music, as Bach always of the second movement, augmenting the tune in extends the activity of the alto, tenor and bass on the ritornello of the third movement, and fnally the fnal syllable. Finally, Bach reserves the perfect stating it in both the voices and instruments of the authentic cadence for each harmonization of the fourth movement. Te ancient melody becomes third line of text. In each instance (measures 12.2, the fnal prayer of the work. 32, and 48.3), he cadences in F major. In fact, the only perfect authentic cadences that correspond with the chorale tune move from a C7 harmony When considered through this lens, the structure to F (both major and minor modes). In the case inspires extraordinary meaning and intimacy— of m. 35, Bach strikingly repeats the same two both a prayer for God’s sovereign will and a chords (C major and either F major or minor) for theological statement. Its design confrms Bach’s nine beats, boldly emphasizing the subdominant. painstaking care and intention as he approached this audition, and its structure refects his intimate knowledge of scripture and theology. Within its

26 four-movement framework, the cantata establishes summon the curious to further pursuit. Even man’s separation from God, an individual and the most unassuming of Bach’s works holds the communal recognition of need, and the final possibility of rich discovery and transformation triumph of Christ’s sacrifce. for the musician. Tis is why pages, years, and lifetimes are dedicated to the study of Johann Sebastian Bach. Summary

Bach’s absolute dedication to his faith as manifest While we will never know with certainty the in his music presents a marvel in the history of details of Bach’s audition, we can conjecture. In Western art. Te dimension of liturgical service gathering the evidence—his love of numerical so central to Bach’s ambitions confounds modern symbolism, personal notations in the Calov bible, sensibility. In him, a humble servant exists whose circumstance, source materials, and structural spiritual depth grasped the very essence of human design—we are closer, and we are honored to struggle and triumph. Here, one of the great briefy glimpse the private life of one of music’s geniuses in the history of world dedicated himself most enigmatic characters. Perhaps no other tirelessly to the creation of a “well-regulated” composer has enjoyed the breadth and depth church music. His humility rings true. As Bach of infuence on future generations. We look to stated, he “cast his lot.” A profound and deeply him as a source of artistic, intellectual, and personal expression of worship, his artful design of spiritual inspiration. His work continues to Cantata 23 still defers to the sovereignty of God. capture us, and the mysteries not yet fully explored

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